Pressgrannar: Pushparaj Koshti sågad!

Stackars Pushparaj Koshti!Kolkata Mirrors Bitan Sikdar sågar Pushparaj Koshtis uppträdande på All-Bengal Music Conference:

Koshti performed raga Madhuvanti. He played alap, jod, jhala and a bandish in ektal (48 beats) [ambitiöst …]. Koshti’s rendition lacked the essential resonance of surbahar. There was nothing new or innovative in his composition. Though the bandish was attractive, yet the strokes of the instrumentalist could not evoke the essential mood of the raga.

Madhuvanti, a short-span raga, however, boasts a good note-combination that reflects from its melody. “Since Madhuvanti is a short-span raga and there is nothing much to improvise, a long recital may often prove to be monotonous,” said Arindam Bose, one from the audience.

“The general audience may not identify a raga or be sound enough about the intricate details of classical music. It, therefore, becomes the performer’s task to make his or her compositions arresting. After all, all we need is renditions which one can enjoy, irrespective of the knowledge of classical music,” said Smarajit Sen, a Sangeet Research Academy scholar, present in the programme.

Svidande kritik! Visst är mycket obegripligt – till och med Smarajit Sens prat om ”the performer’s compositions”, och hade man väntat sig nytt och innovativt i konservativ gammal dhrupad, och vad (om något!) betyder ”boasts a good note-combination that reflects from its melody”? – men att Pushparaj Koshti inte kunde projicera raga-bhava står svart på vitt och kan inte sägas tydligare.

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3 reaktioner på ”Pressgrannar: Pushparaj Koshti sågad!

  1. After hearing Pushparaj Koshti playing Desh (Sense World Music) or Bilaskhani Todi (Bihaan) where the raga-bhava is established in the first strokes itself, one begins to wonder what these so-called critics have been smoking. One doesn’t need to be an expert in Indian classical music to enjoy dhrupad – an open mind and patience is all that it takes.

    In the age of fast food and T20 cricket, I am not surprised that a listener expects “instant gratification” when listening to classical music. Khyal quickly establishes the “raga-bhava” by performing the representative phrases (pakkad) of the raga and listener goes “ah-ha” when they hear something familiar. The note by note elaboration of the dhrupad requires some patience to see the raga emerge.

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